You will have to be the judge, given the recent issue of GLReview that discusses the concept of camp and gives various definitions:
“The first duty in life is to be as artificial as possible.” Wilde
“Camp is [understood] not in terms of beauty, but in terms of the degree of artifice, of stylization.” Sontag
Sontag goes on to say that, “Camp sees everything in quotation marks.” She associates camp with performance, “being-as-playing-a-role,” and with the artificial: “It is the difference…between the thing as meaning something, anything, and the thing as pure artifice.”
Certainly Brooks qualifies as one of the first female dandies, and her creation of an artist-self falls into the category of the performative identity. Her paintings and interpretations of various new women, bisexuals, and internatonal metro-sexuals positions her as a radical modernist — albeit, as outlined in Romaine Brooks: A Life from the right rather than center or left. What could be more camp than her dramatic 1912 self-portrait or her stylized self-portrayal of 1923? This perhaps explains her enduring appeal across generations and various cultures.
Rediscovering Romaine Brooks 